In honor of Read-A-Romance Month and Romance Awareness Month, this August we’ll once again be sharing some new, focused insights of indie romance authors who have been navigating the world of the genre and writing all about love in their latest novels. To read this year’s article, click here! Here, you can read the full interview with Jennifer Sucevic. For her website and social media, see below!
How did you first get into writing romance novels – why romance? Do you have any stories you’d like to share about your initial experiences in this particular genre and how they have influenced your journey going forward?
I’ve always been an avid reader of romance. In middle school, I discovered Sweet Valley High and instantly fell in love with the drama, friendships, and swoony moments. That was the start of a lifelong obsession with the genre. In college, I was introduced to historical romance, and for a long time, it was all I read. That deep immersion not only fueled my love for romance but also sparked a genuine fascination with the past, which ultimately led me to major in history. During my senior year, I decided to try writing a romance novel of my own. I wrote four historical romances before eventually shifting to contemporary. After graduation, I took a year to focus on writing and began querying publishers and agents. While I didn’t land a deal at the time, the passion for storytelling never left me. I went on to earn a graduate degree in Educational Psychology and spent five years working as a school counselor. Even during that busy chapter of life, I never stopped writing. When my husband’s job took us to a new city, I finally had the opportunity to return to my creative work full-time and that’s when everything changed. In January 2015, I published my first book on Amazon, and I’ve been writing and publishing ever since.
What does your writing process typically look like? Where do you gain inspiration from, especially because there is a depth and complexity to these stories that set them apart from traditional conceptions of romance novels?
When it comes to my writing process, I rely heavily on a detailed outline. These outlines can stretch to 20 pages or more, depending on the complexity of the story. Now that I primarily write interconnected series, I like to map out ideas for each couple ahead of time. This allows me to understand who they are individually, how their personalities and histories complement or clash, and what emotional journey they’ll go through together. For me, every romance is about more than just attraction. It’s about growth. Each love story I write includes emotional roadblocks and real-life complications that keep the couple apart, as well as personal struggles or internal baggage they need to face. Watching the characters confront these challenges and evolve, both separately and together, is what makes the story so satisfying to write. Planning those arcs in advance gives me the roadmap I need to tell their story with depth, heart, and plenty of tension.
How do you approach determining the nature of the plot or the trope(s) that you pursue in a given novel? Do you tend to stick with what is popular among readers or what is trending at the moment?
I started writing sports romance about ten years ago because I genuinely loved reading it. At the time, I didn’t even know what a trope was. I just followed my instincts and wrote the kind of stories that pulled me in as a reader. It wasn’t until later that I realized many of the dynamics I gravitated toward had names- enemies to lovers, fake dating, he falls first and harder, and more. I love the tension, emotional depth, and swoony payoff those tropes bring to a story, and you’ll find them in my books. Writing romance rooted in those themes still excites me just as much today as it did when I started.
Are there other key decisions at any point in the writing process that you tend to struggle with, or that are particularly notable?
One thing I’ve learned over the years is that I need to fully understand my characters, emotionally and psychologically, before I can write an intimate scene between them. I need to know how they feel about each other, what fears or walls they’re still carrying, and where they are in their journey toward vulnerability and trust. That’s why I typically wait until the midpoint of the story before my characters become physically involved. For me, intimacy is not just about chemistry. It has to mean something. In fact, there have been times when I’ve skipped writing those scenes in the first draft entirely, leaving myself a note to come back during revisions once their emotional arc is clearer. It’s important to me that when those moments happen, they feel earned and layered with real depth.
How do you curate a cohesive aesthetic and visuals for your stories and series? What about the creation of merchandise that pairs with your stories? What sorts of artists and creatives do you normally consult for your vision to be realized?
In the past few years, I’ve started collaborating with artists to create custom artwork for my books. There’s something really special about seeing characters brought to life in a specific scene. It adds a whole new dimension to the story. I’ve also been more intentional about building immersive worlds within my series. From designing drink coasters inspired by fictional bars or coffee shops to incorporating recurring settings, I love creating a universe that readers can feel a part of.
Going off of this, explain the process of seeking out and attaining cover photos/art for your books. What is it like to choose designs and/or models that best fit your story?
For my new series, I’m using an exclusive model image for the first time, which is a big shift from how I’ve done things in the past. Up until now, I’ve relied on non-exclusive stock photos that best fit my characters, but after publishing 30+ books, finding the perfect image has become more challenging. When I first started publishing, there was typically just one cover for each book. For romance, it was a model. Now, readers expect a variety of options- model, object-based, illustrated, and even discreet editions. That’s both exciting and a bit overwhelming. For my Wildcats series, I initially launched with model covers but quickly pivoted to illustrated versions when I noticed that was the dominant trend in the genre. I also created discreet editions for each book using object motifs. With my upcoming series, I’m offering all three formats (model, illustrated, and discreet) so readers can choose the version that fits their preferences best.
If you use real people on your covers, is it difficult to find models that align with the characters in your mind? Do you pick the model(s) before or after writing the character or couple?
In the past, one of the biggest challenges I faced with cover design was finding models who truly matched the vision I had for a character. It’s not just about physical appearance, it’s about capturing the energy, attitude, and essence of the character as I’ve written them. Because it was so difficult to find the right fit, I often leaned toward cover designs that focused on the model’s torso rather than their full face. This approach gave readers the freedom to imagine the character themselves, based on the descriptions and emotional depth in the story. It also preserved a level of mystery that I felt worked well for romance covers, letting readers project their own version of th
e hero.
When it comes to illustrated or discreet covers, whether this be cartoon illustrations or more subtle designs, what is your thought process?
When it comes to illustrated designs, I tend to prefer a more realistic style. I work with two incredibly talented artists that I absolutely love. One is my original cover designer, who I’ve been collaborating with for nine years. She knows my style inside and out and always nails the color schemes I gravitate toward. The other one designs my special edition covers, and she has an amazing ability to surprise me with concepts I wouldn’t have come up with on my own. I truly value both of their creativity and insight.
To what extent has the cover design process changed/evolved over time based on trends and the cover styles and design choices that are deemed most popular at the moment? What is your overall perception of the fluctuating nature of book aesthetics? How have these been impacted by both reader preferences and social media discourse?
The cover design process has changed dramatically since I first started publishing. Back then, there were fewer options, and most indie authors stuck with a single standard cover. Now, there are so many formats to choose from—model covers, object-based designs, illustrated art, discreet editions, special editions with foiled dust jackets, sprayed edges, and custom interiors. It’s exciting to have that creative freedom, but it also adds pressure. With so many beautiful designs flooding the market, choosing the right cover style is more important than ever. You want a design that fits the story and resonates with your target audience, but you also need it to stand out in an oversaturated genre. On top of that, the cost of producing multiple covers and coordinating special editions can add up quickly. It’s a huge investment, but one I believe is worth making to deliver something special for readers.
Social media, particularly TikTok in recent years, has played a huge role in book promotion with the advent of “BookTok” and the progression of online fandom activities that have existed for decades. How has social media provided a platform for promoting/marketing your books and creating a fandom space for your novels? Do you have any notable stories in mind about your works going viral or skyrocketing via social media?
Social media is an incredible tool for authors. It offers a direct way to connect with readers, build community, and get your books in front of new audiences. I love being able to interact with readers. But like anything else, it comes with its challenges. With so many platforms to juggle, it can easily become overwhelming and time-consuming. I’ve had a few TikTok videos go semi-viral, which is always exciting, but I haven’t had a breakout moment yet.
More generally, how do you navigate the ever-changing ebb and flow of trends and popular preferences within the online book community? Feel free to share your thoughts about the dynamics of the community itself, as well as your approach to it.
In the past few years, trends seem to have become even more important, and they shift faster than ever. I think a big part of that is due to TikTok. With so many influencers and BookTokers sharing what they love to read, those preferences start to shape what authors create. Instead of simply writing the story I want to tell, I now find myself thinking about the tropes and scenes readers are actively seeking out.
Going off of this, readers are more connected to authors than ever through social media and independent publishing. How do you feel about this sense of connection and attainability?
Readers today are more connected to authors than ever before. It’s not uncommon for them to pop into your DMs to ask questions, share their thoughts, or simply express how much a story meant to them. As long as healthy boundaries are respected, I think this kind of interaction is a really positive thing. It builds community, creates a direct line of communication, and reminds us why we write in the first place.
How do fans and their feedback (i.e., reviews) impact your writing process, whether directly or indirectly? Describe what it’s like having an ARC team, beta team, etc. and being able to receive trusted feedback from your readers, as well as influencers and fans who make content about your work.
I don’t generally read reviews. I’ll glance at them around release week just to get a general sense of how the book is being received, but I’ve learned that the negative ones can really take a toll on my mental health, even when the majority of feedback is positive. Protecting my creative headspace is important, especially when I’m already deep into writing the next book. Recently, I’ve started building my own content team, and I’m really excited about it. It’s still new, but having early readers who are supportive and engaged makes a big difference. For the last few releases, I’ve also worked with a trusted beta reader when the manuscript is nearly complete. Getting that early feedback has been incredibly helpful and reassuring. It lets me strengthen the story before it ever reaches a wider audience.
Tell me about what it’s like to be an independently published novelist as a whole. What obstacles have you encountered with this approach? What are some of the advantages you’ve been able to enjoy?
I absolutely love being an indie author. Having full creative control over my career is something I value deeply. I get to decide what stories I want to tell, when to publish them, what covers to use, and who I collaborate with—whether it’s editors, designers, narrators, or marketers. That freedom is both empowering and creatively fulfilling. Being indie also means wearing a lot of hats. One of the biggest challenges is visibility and getting the word out about my books in an increasingly crowded market. Without the backing of a traditional publisher, it’s up to me to manage everything from writing and revisions to marketing, advertising, social media, and direct sales. Time is my most limited resource. I typically start my day around 7:30 a.m., and more often than not, I’m still working at 9 or 10 at night. I also work seven days a week. There’s always more I want to do. There are more ideas to explore, more books to write, more readers to reach. But even with the long hours, I wouldn’t trade this for anything. Being an indie author is hard work, but it’s also the most rewarding job I’ve ever had.
How do you handle the “business” aspect of being not only the author, but the publisher and promoter of your stories? Is it a difficult balance to achieve? Have you developed a particular approach to self-publishing that works best for you? Do you work with a PR company, influencers, or any other collaborators in this process?
Yes, trying to balance being an author, publisher, and marketer of my own books can definitely be a challenge. Wearing all those hats means there’s always something that needs my attention. Whether it’s writing, editing, managing release schedules, handling promotions, or running my store. It’s a lot to juggle, and I often find myself working long hours, seven days a week. While I know delegating more could lighten the load, I also take a lot of pride in being hands-on with every aspect of my business. No one is going to care more about my books or my brand than I do, and I want to ensure that everything reflects the vision I’ve built. That said, I’ve started to expand my team a bit. I work with a PR company and recently began collaborating more closely with an influencer. I enjoy testing out new strategies to see what resonates with readers, and I’m always looking for ways to improve and grow. It’s definitely a lot of work, but it’s also incredibly rewarding.
What has your experience been as an indie author encountering pirating and copyright issues with companies like Amazon or Apple Books? Has this struggle worsened or evolved in any specific ways over time? Feel free to share any specific anecdotes you might have regarding this topic.
As frustrating as book pirating is, I try not to give it too much of my energy. Of course, it bothers me. Like most authors, I put my heart and soul into every book I write, and it’s disheartening to see that work stolen and shared without permission. I’ve considered hiring a service to monitor and take down pirated copies, but in the end, I don’t believe the people downloading those illegal copies are readers who would’ve purchased my books in the first place. So rather than pour time and money into chasing something I can’t control, I choose to focus on creating stories for the readers who support me legally. That said, I did have one moment that stuck out. A reader once messaged me asking if I planned to write a follow-up to my very first book, which I’d taken off sale nearly a decade ago. I was surprised and asked where they’d gotten a copy, since it had been unpublished for so long and I figured that it had been downloaded illegally. Unsurprisingly, I never got a response. At the end of the day, pirating is a sad reality of being in a digital space. I do my best to protect my work, but I’d rather focus my energy on the amazing, supportive readers who continue to show up and make this career possible.
With the advent and rapid evolution of generative AI, particularly in creative fields like writing and visual art, have you seen this making an impact on the online book community at large, or your particular body of work and fanbase? Have you encountered any challenges in the face of AI? In other words, tell me about your AI-related experiences and your stance on it.
At this point in time, I haven’t seen a significant impact on my business due to AI. That said, I do think this technology is still in its early stages and will continue to evolve rapidly. It’s hard to predict exactly what the long-term effects will be for authors and the publishing industry as a whole. While AI might offer tools that have the potential to streamline certain parts of the publishing process, there’s also the very real fear that it could lead to an oversaturated market or the devaluation of creative work. Right now, I’m taking a wait-and-see approach. I believe there will always be a demand for stories written with genuine emotion and a human touch. And that’s something AI can’t replicate. I’m definitely keeping an eye on how the landscape shifts and staying open to learning more as it unfolds.
Are you publishing your books in audiobook form? If yes, what has this process been like and what is your approach to it? Have you seen this format becoming more popular over the years? Why do you think it’s a preference among some readers?
Almost all of my books are also available in audio format. I originally started with dual narration, which worked well at the time. As the audiobook market has continued to grow, and reader expectations have evolved, I made the decision to level up my production quality. I now work with an audio production company to create duet-style audiobooks featuring more well-known narrators. The cost is significantly higher, (nearly three times what I was paying for dual narration) but I believe it’s worth the investment. Duet narration brings a more immersive and emotionally engaging experience to the story, which is something listeners really value. The number of readers who prefer audiobooks has been steadily increasing, and I want to make sure my books are accessible in all formats. Whether someone prefers reading on their Kindle, listening during their commute, or holding a paperback in their hands, I want them to be able to enjoy the story in the way that works best for them.
To learn more, please visit Jennifer’s website, jennifersucevic.com. Here, you’ll also be able to find her socials!